Piano improvisation accompaniment is both theoretical and practical, so one of the conditions that an accompanist must have is piano skills, which are the basis of piano accompaniment and the means to express music. Piano playing skills and piano improvisation accompaniment are two different aspects. It is necessary to make it clear that there is an essential difference between them: piano playing skills mainly reproduce music content through mechanical practice, while improvisation accompaniment must serve the needs of singing. On the basis of the melody of the song, the accompaniment texture makes full use of theoretical knowledge to improvise, and the accompaniment of the song is completed by creative labor, making it a whole that complements the song. So there will be the following two situations: first, the level of accompaniment is restricted by piano skills; Secondly, piano skills are higher than accompaniment, which means that accompaniment is restricted by theoretical level, creativity and comprehensive application ability. This requires the simultaneous promotion of the two to achieve the ideal effect of comprehensive balance and all-round development.
Second, a solid knowledge of harmony theory
Piano impromptu accompaniment is one of the important means to apply harmony theory to practice. Harmony design is an important part of piano impromptu accompaniment and has the status of "soul". The harmony level of accompaniment directly affects the expressive force of songs. Therefore, the choice of harmony should be considered according to the needs of specific works, and the arrangement, cohesion, rhythm, expressiveness and chord structure should be handled well. For example, the song "China, China, the bright red sun never sets" is an ode. The whole song consists of three phrases, the first one or two are complex sentences, and the third is the climax of the whole song. Whether the harmony collocation is appropriate or not directly affects the purpose, rationality and perfection of the whole song accompaniment. In the general melody, the use of tonal triad can keep the harmony and smoothness of the main melody and the fullness of the texture, but in the climax of the song, the application and treatment of harmony techniques need specific effects. The climax of this song properly uses unstable variable chords, which enhances the tendency and intensity of harmony, effectively promotes the emotional development of the song to a passionate and brilliant mood, and fully shows the emotional color of this song. Therefore, a solid foundation of harmony theory is very important.
Third, the comprehensive ability is strong.
Piano impromptu accompaniment is an applied technology, which embodies the strong comprehensive ability of the accompanist. The ability to improvise accompaniment is multifaceted. The author learned from the practice of improvisational accompaniment that not only piano skills and harmony foundation are needed, but also the accompanist: 1. It has the ability to improvise. Master various styles of accompaniment texture, so as to improvise a reasonable, practical, concise and effective improvisation accompaniment; 2. Have the ability to improvise. Can quickly analyze and judge the works, and creatively choose and design the accompaniment sound type and apply it to accompaniment; 3. Have rich imagination and creativity. Therefore, the impromptu piano accompaniment must attach importance to the relationship between all links, otherwise it will be like a chain without intermediate links, and it will not form a coherent and smooth whole.
Fourth, choose the appropriate accompaniment texture
The basic form of accompaniment sound type refers to the different statement forms of several common chords, which is the accompaniment sound type for song performance in impromptu accompaniment; It is colorful and ever-changing, but there are only three basic forms, namely: chord accompaniment texture, broken chord texture and chord texture with bass.
1. Chord accompaniment texture (performance characteristics-firm and powerful, magnificent, solemn and magnificent, full of lofty sentiments). Chord accompaniment texture can also be called column chord accompaniment texture, which refers to a form in which accompaniment texture and chord prototype (each sound of four harmonies) are played at the same time. (1) The rhythm is relaxed and smooth, which plays a role in setting off the background. (2) Short and compact rhythm and strong motivation. (3) Jump with clear rhythm and firmness. (4) The rhythm of gongs and drums is good at expressing warm and jubilant emotions. For example, the song "Team Song of China's Young Pioneers" is accompanied by chords, which shows the firm determination of young children in New China to be the successors of * * * *.
2. Broken string texture (performance characteristics-lyrical fluency, euphemistic affection). The staccato accompaniment sound pattern refers to that the accompaniment sound pattern appears in the decomposition form of chords, which is a form in which chords change according to the arrangement order of the sounds. (1) Affectionate and euphemistic, and can jump happily. (2) Lyric fluency, singing and dynamic. For example, the song "Clouds Flowing in the Sky" uses broken strings to express the image of a lyric song, expressing our infinite love for a happy life and our beautiful mood for the future.
3. Chord texture with bass (performance characteristics-cheerful jumping, strong sense of rhythm). The accompaniment sound pattern of semi-broken chord refers to the form in which the accompaniment sound pattern alternates with the bass of one chord and several other chords. (1) Jump happily and have a strong sense of rhythm. (2) Slight ups and downs, steady and static, static and dynamic. (3) The rhythm is vivid and vivid, with the characteristics of Xinjiang dance. For example, in the song "Between Heaven and Earth", the child's innocent and lovely image is expressed by the half-broken chord accompaniment.
The above three types of accompaniment have typical usage and expressive force, which is an indispensable and important foundation for further study. The use of accompaniment sound patterns should be unified, and only one texture can be used in a paragraph, and two or more textures can be used in other forms, but confusion and self-defeating should be avoided.
The overall layout of verbs (abbreviation of verb)
When designing, we should first have a clear understanding of the music structure of the song, so as to better grasp the accompaniment framework of the whole song and make it have a reasonable overall layout when playing. To play a complete accompaniment, we should not only play the accompaniment well, but also play the prelude, interlude and ending of the song well. Only in this way can the content of the song be fully expressed. Therefore, we must pay attention to the overall layout of accompaniment, that is, the comprehensive use of prelude, interlude and climax.
Prelude means to show the theme, thoughts and feelings of the song, or to describe the artistic conception and render the atmosphere, to remind the singer of his mood, pitch, mode, tonality, rhythm, speed and strength, and to bring us a concrete musical image.
Intermittent music is the connection of music image, emotional change and mode contrast of songs, which plays a bridge role in supplementing music content, setting off atmosphere and depicting background, and also provides necessary tips and rest opportunities for singers.
The conclusion is to strengthen and supplement the termination of the song through piano accompaniment, further express the thoughts and feelings of the work, and make the content of the song more fully and perfectly expressed.
It can be seen that the prelude, interlude and epilogue are closely related to the song itself, forming a complete artistic image. Therefore, in practice, we should fully consider the reasonable arrangement of the overall framework and attach importance to the cultivation of comprehensive ability from the following aspects:
1. Be familiar with and analyze the style, artistic conception, mode and climax of songs, and grasp the connotation of songs. First of all, arrange the harmony at the beginning, climax and end, pay attention to the functionality and color of harmony, and arrange the semi-termination and termination. Then arrange other chords according to harmonic progression's rules and effects. When matching chords, we should pay attention to: the connection between positive triad and three-degree superposition is the main one, and the auxiliary triad, transposition chord and variable chord are the auxiliary ones.
2. At the beginning of the song, the main triad is mainly used to consolidate its mode tonality, and the unstable and functional chords and transliteration chords are selected at the climax to increase the sense of promotion. For example, songs such as "Singing the Motherland" and "China, China, the bright red sun never sets" are all songs with an ode-style March. Chord selection in the prelude part should establish mode tonality based on the main triad, giving people a firm, vigorous and courageous momentum.
3. Handling of the climax: (1) anti-octave, scale and chromatic scale, such as "Where is Happiness", the rising scale makes the song end at the peak of emotion, cheerful, excited and full of vitality, and the rhythm, sound pattern and finally powerful chord-like connection of the left hand make the song end successfully; (2) Use vibrato and arpeggio according to style characteristics, such as: this technique was used in the climax of the song "On the Songhua River", where the biggest feature of vibrato is an emotional outburst full of anger and hatred, which is a heartbreaking cry! The ever-increasing strength and momentum sublimate the theme of music, express the common aspirations and aspirations of the people, and the mood is high, passionate and unstoppable; (3) Choose dynamically changing chords and color chords to enhance tension and set off the atmosphere. For example, in order to express the specific content of "Meet the Dawn of Victory", the theme of the song is further developed and sublimated by using the special bright colors of tone sandhi chord (DD chord), which shows the profound theme and far-reaching artistic conception of people's pursuit of good wishes and lofty ideals.
There are countless such examples, such as: I love you, China, heroic hymns, the land of China, the morning in the big forest, and I will be you when I grow up, and so on. The key to the success of impromptu accompaniment is to design and choose the appropriate accompaniment texture according to the content and mood of the song. Of course, it can also be changed according to the needs of song performance, resulting in more and more suitable accompaniment modes, which will have an overall effect on the design of piano impromptu accompaniment. In short, the comprehensive analysis ability can achieve a more accurate positioning for piano impromptu accompaniment on the basis of the establishment of the overall framework of songs, and achieve an ideal position in the logical development of structure and the handling of style characteristics.
To learn piano impromptu accompaniment well, it is important to master the necessary theoretical basic knowledge such as harmony, musical structure, accompaniment texture, song practice, basic music theory, and at the same time:
① Pay attention to the practice of keyboard harmony function in various modes;
② Pay attention to the practice of impromptu accompaniment on the keyboard;
(3) Pay attention to the transposition exercises on the keyboard.
These exercises not only improve the ability of impromptu accompaniment, but also improve the piano skills.
To sum up, the characteristic of piano improvisation is improvisation, which requires us to conceive a logical accompaniment scheme in a very short time with the wisdom and inspiration of the accompanist, improvise the accompaniment texture for the song, and ensure the smooth progress of singing. Therefore, impromptu accompanists should have rich knowledge of composition theory, master skillful piano skills and various accompaniment texture techniques, and deeply understand and grasp the style and content of songs, which will undoubtedly play a very important role in effectively improving the level of piano impromptu accompaniment and better completing the orchestration of piano impromptu accompaniment.